Picturesque World’s Fair, An Elaborate Collection of Colored Views—Published with the Endorsement and Approval of George R. Davis, 1894
THE MACMONNIES FOUNTAIN FRONT.—This view, taken from a position in the Grand Basin, affords a just idea of the appearance of the Columbian Fountain from the east, and of the steps and terrace down which the water tumbled in a cascade when the fountain was in action. The Sea-Horses of Commerce, which were represented as assisting the rowers in the propulsion of the barge, uprear themselves in front and on either side, and Fame, surrounding her trumpet, is conspicuous on the vessel’s bow. At the left, and beyond, there appear to advantage some of the groups of statuary which added to the charm of the Administration Building; a corner of the Mining Building is visible in the middle distance, and to the right the Electricity, with its graceful arch and rich pediment, is a pleasant thing for the eye to rest upon. And in the immediate foreground is gondola with its gondoliers. It was a clever suggestion which resulted in bringing from Venice real gondolas and real gondoliers in all their finery, but, oddly enough, it had the effect, probably, of soon making the gondola a thing of the past even in the old European city. The boat was picturesque, but it was slow and clumsy, and the electric launch glided or around it at will, swifter, noiseless, more graceful, and above all, more comfortable. And visiting Venetians saw and thought, and a company was formed and the ancient lagoons and canals. so it is said, may no longer know the style of boats which has existed for so many centuries. Be this as it may, the gondolas and their oarsmen were an artistic novelty and an attraction at the Fair,
THE ELECTRIC FOUNTAINS.—The Electric Fountains, one on each side of the famous Macmonnies Fountain, at the west end of the Court of Honor, added greatly to the beauty of the night scene, and always when playing attracted thousands to their vicinity. When quiescent, all that could be seen of the fountains was the multitude of pipes arranged within the rocky basin. At night, however, there came a sudden activity, and from the pipes leaped high in the air great streams of water glittering with the hues of the rainbow and falling back in a cataract to the basin where the turbulent mass of color bubbled and tossed and overflowed with dazzling effect. The fountains exceeded in magnitude and beauty anything of the sort ever constructed, the basins being sixty feet in diameter and pierced for three hundred and four jets, the water from which ascended to a height of one hundred and fifty feet. The brilliant effects were produced by concealed lights, the charm of mystery being thus added to the illusion. The entire apparatus was controlled by electric signals from the dome of Machinery Hall, where the different lights were applied and the transmission from one to another controlled at will. The illumination was by thirty-eight arc lights of one hundred amperes, each requiring nearly one thousand horse-power in operation. The jets were arranged in circles and the effect was the climax of success for this beautiful modern device.
THE COLUMBIAN FOUNTAIN.—The Columbian Fountain was generally recognized as a triumph of artistic work on a splendid scale and beyond simplicity in its significance. The prominent object in the Court of Honor, directly in front of the Administration Building was a great circular basin, one hundred and fifty feet in diameter, in which Columbia sat in a Barge of State drawn Dy sea-horses and rowed and guided by symbolic figures. At its eastern side the water of the fountain plunged in a circular cascade to the Grand Basin twelve feet below. The huge barge was of the style of the classic ages, its prow ornamented with an eagle’s beak, its sides bordered with graceful reliefs and horns of plenty pouring their abundance over the gunwales. Columbia sat aloft upon a pedestal heralded by a figure of fame bearing a laurel wreath and something of a trumpet. The barge was oared by the Arts and Industries and steered by father Time, who had improvised his scythe into a helm. In one hand Columbia bore a torch at rest upon the pedestal beside her. The rowers of the barge on the right were Music, Architecture, Sculpture and Painting: those on the left and which appear in this illustration were Agriculture, Science, Industry and Commerce. Four pairs of sea-horses. the Sea-Horses of Commerce bearing riders representing Modern Intelligence, drew the barge, making lighter the work of the rowers. Dolphins, mermaids and tritons disported themselves in the water. The work was equal to the conception. It was a wonderful fountain.
THE FALLS OF THE COLUMBIAN FOUNTAIN.—Viewed from its front, and at a point not remote, the overflow of the Columbian Fountain afforded the spectacle of one of the most charming of cataracts. The mass of water tumbled down from level to level in a great foaming semi-circle, until, finally, it plunged into the Grand Basin, a white sheet impressive in its beauty. Wider than the famous Falls of Minnehaha, though with not quite so much descent, the falls of the fountain reminded hosts of people of that pretty spectacle in Minnesota which Longfellow made so celebrated. “A table-cloth of pure water,” the Falls of Minnehaha have been called, but in Minnesota the table-cloth is not hung so smoothly nor with such housewifely care as was that of the Columbian Exposition. Neither did the falls here go rollicking away with the flood of a pretty creek, but, instead, whipped into a fringe of win ale waurs or el smooth expanse and added variety to the charming scene upon the basin. As the “Maid of the Mist” once took passengers to the verge of the abyss of Niagara, so gondolas and launches would approach the downpour of the fountain, but the greatest danger lay in a sprinkling, and the roar of the falls was not loud enough to render indistinel the chatting of the gay parties who delighted to be rowed near the spot, especially at night, and watch the rainbow hues made by the lights upon the water. It was a place of great attraction. From any point on the Grand Basin, as from any point upon the land, the Columbian Fountain was a source of pleasure, one of the inspirations and masterpieces of the Fair.
BIRD’S-EYE VIEW OF THE COLUMBIAN FOUNTAIN.—It was a merit of the famous Columbian Fountain and one indicative of its quality as a great work of art that it was beautiful from whatever direction a view of it might be taken. So perfect were the relations of its parts that even a bird’s-eye view gave something symmetrical and picturesque in the illustration, the observer being almost directly north and at a slight elevation, minor details of the barge are not perceptible, but all the figures show plainly, and the relation of the fountain to its surroundings is made pleasantly apparent. The background of Machinery Hall to the right, and the Farmers’ Bridge, the South Colonnade and the Agriculture Building to the right, serve to bring out with no loss of impression the lighter glories of the fountain in the foreground. It is in action, and the foamy spray of the jets, the rippling about the Barge of State and the falls to the basin below have been reproduced with all their delicate effect, both in the photograph and in the picture. The Neptune column, the Obelisk with its guardian irons, the arch of the Colonnade and the west entrance to the Agriculture Building are outlined distinctly, and add to the interest of the view so full of artistic objects. Even the animal figures, the elk in the foreground, the buffalo upon the Farmers’ Bridge and the bullock in the Statue of Plenty may be seen dimly in the distance.
COLUMBIAN FOUNTAIN FROM THE REAR.—Father Time became a familiar figure during the Fair to the hosts who gathered about the music stands on the eastern part of the Grand Plaza, for the barge of the Columbian Fountain rode stern on to the plaza and Time was at the barge’s helm. The illustration is an excellent one of the fountain from the rear and is as attractive as were views taken from other points, of that splendid work of art. Grasping his scythe in an unaccustomed manner, Father Time tugs heartily away as if either the sea-horses in front or the fair rowers at the sides were swerving the grand barge a little from its course and he felt the full responsibility of his new position. In this view the rowers on the right appear, the oarswomen being Music, Architecture, Sculpture and Painting, and two of the sea-horses, which are assisting the rowers by towing, are also visible at the eastern side of the fountain, bearing upon their backs the riders typical of Modern Intelligence and Force. In the foreground a sea nymph is disporting and tritons and dolphins are enjoying themselves and tossing up the water near. The symmetry and classic majesty of the Barge of State are made from this point of view especially apparent. There was no aspect in which a feature of the fountain failed to justify the encomiums upon it
On each side of the MacMonnies Fountain, which was the principal decoration of the Fair, was placed a circular basin or inclosure, as seen in the photograph, from which many volcano-like craters issued. These were covered with rustic rock-work for ornament in the day-time, when the fountains were not in use. At night, there issued from these craters streams of water lava – green, golden, rosy red, pink, yellow and blue – the columns rising to a much greater height than may be here seen, capable also of multiple colors, cross-playing, and pyramidal effects. The vari-colored night fountain, in former times, was produced only on the dramatic stage, the colored lights being thrown upon the waters from the flies and by the Drummond light.
The electric fountain was introduced to the general public at Paris, in the Exposition of 1889, with great success. Mr. Yerkes, of Chicago, then erected a fine example of this beautiful device at Lincoln Park, in the northern part of the city of Chicago, which, playing on three nights a week, was visited by millions of people. These fountains at the Fair, at the hours in which they were played, added distinctly to the bewildering beauties of the scene. The operators are concealed in a spacious room beneath the basin, and electric lights play on the water before it rises out of the funnels. Owing to the complexity of the apparatus -hydraulics, dynamos, and what not – disappointment is frequent and unavoidable, but the successful exhibitions are all the more highly enjoyed by the people.
Harper’s Weekly, October 3, 1891
People have been known to travel miles to see the electric fountain in Lincoln Park, Chicago. It is worth travelling miles to see if one be of the sort that can be entertained by the play of infinite combinations of colors in flowing water rising into the air to a height of say 100 feet or more. Every Tuesday and Friday night from 20,000 to 30,000 spectators gather to see the brilliant show.
Wherever the fountain plays, it plays at night. Of course it plays at night. In the daytime, under the pitiless revelation of the bright sun, the fountain looks like a Christmas dinner table after the fnmily has left it, or like the old morning stage of a tank drama. It is nothing but a large pool of more or Jess muddy water, out of which arises a circular wall of brown granite. Very prosaic indeed. But at night-when you see the fountain at night in the witchery of the darkness-no wonder-work of Hermes the Thrice Great, no illusion of Robert of Flood, no design of Apollonius or marvel of Johannes Philostratus, was more singularly beautiful, more laden with the raiment and color of the magical, more deft iu touches of transition, in changes changing from one bewildering aspect to another, infinite in number, fascinating, full of surprise.
This is what the thousands see in the fountain at night. Higher, higher, as if it were aiming at an aspirational ways just beyond its reach, but still possible of Ilttainment, leaps the central stream, big of endeavor for climax, and never wearied of its failures, flashing from its lateral spray a million points and prisms of light, and piercing on and upwards with noble effort until its force is spent; then breaking over the topmost point, and tumbling and tossing down upon itself, flinging the old and passed water in the faces of the subordinllte jets that follow it meekly, corning anew eternally with new supply, only to mount and flash and fail and fall again. As it leaps up from its unseen source in tbe pool, and stretcbes itself longingly towards the stars, it Illay be said to resemble some ancieut snake deity in some an cient temple ill the old Orient, showing its lithe and lovely form covered with beautiful flames and flakes, fit for worship, and symbolizing the purpose of man in tbe universe-” upward endeavor, ampler existence.” A little thing as measured lly tho standineffable, unspeakable sentiment. ‘
Across this central bit of color, of Nght and shadow, in the main picture, are flung the eight subordinate streams, equidistant from the centre at the base, and between these are several hundred miuol’ jets, each a little rainbow in itself, adding to the incomparable coloring of the greater streams their own bedazzling splendor. By a clever arrangement of refiectors and colored cover glasses, to be described below, every stream-central, subordinate, and minor-is turned into a living, leaping rod of color. The light falls on every drop, every spray, every atom of water that is thrown out of the Jets, and the towl result is an ever-shifting and surprising rise and fall of a clear liquid column about one hundred feet high and about fifteen feet in diameter.
The height to which the central stream is thrown (and this is true of all the streams) is controlled by a system of valves in the great square cellar or room, directly under the bed of the large pool surrounding the exterior wall of thc fountain. From tbe roof of this room rise fifteen cylinders of brick wall, iuclined (except the central one) at an angle leaning toward the centre. These cylinders resemble the veutilators of a steamship if you remove the arched neck. Their tops fire nearly level with the top of the circular wall, and out of their mouths project the nozzles of the water-pipes. They are closed at the mouth with round plates of glass, designed to prevent the return of the wllter to the cellllr. Directly beneath each opening in the roof of the cellar is a carbon electric light backed with a strong reflector. On an upright turning-post near the light is a circular frame, in which are fixed five circulllr plates of colored glass-blue, green, purple, orange, and wbite. The post is turned, the light is covered by one of the plates, and all the water that issues from the jets in this cyliuder is transformed into a column of brilliant fire-blue, green, purple, orange, or white.
As has been said, there lire fifteen cylinders; therefore, to be sure, there are fifteen lights, and five sets of color glasses of five glasses each. The master of a system of quaternions may oblige you by calculating the combinations into which these seventy-five different glasses can be thrown. But the people who which the beautiful spectres of the fountain are too much impressed with the poetry of it to bother with the mathematics of it. The central stream measures one and II half inches in diameter, and the eight subordinate streams one and a quarter inches.
The fountain was made in England, and is said to have cost Mr. Charles T. Yerkes, who presented it to the commissioners of Lincoln Park, $30,000. The work of the erection of the fountain and the management of the sublights were made under the supervision of Mr. Dwight Wiman, son of Erastus Wiman, of New York.
Harper’s Weekly June 1893
Columbian Exposition–The Grand Basin Court at Night–Electrical Illumination of MacMonnnies’ Fountain and the Administration Building, Charles Graham,
Frederick MacMonnies was entrusted with the design and construction of the central fountain at the Fair, and $50,000 were placed at his disposal for the purpose. Of this amount, it is said that the ardent lover of sculpture actually expended fully $48,000 in bringing his great conception to successful completion. The fountain shows Columbia sitting aloft of the Barge of State, heralded by Fame at the prow, oared by the Arts and Industries, guided by Time at the helm, and drawn by the sea-horses of Commerce. The prow of the barge is ornamented with an eagle’s beak; its sides are bordered with dolphins in relief; and horns of plenty pour their abundance over the gunwales. The pedestal on which Columbia sits, bears a national shield in front, and the throne is supported by four kneeling children, who also bear heavy garlands. A torch at rest is in Columbia’s hand. The rowers on the right are Music, Architecture, Sculpture and Painting; on the left, Agriculture, Science, Industry and Commerce. Time has improvised a helm by using his scythe. This barge stands in the center of a circular basin, one hundred and fifty feet in diameter, which at its eastern periphery flows in circular cascade in many falls to the surface of the Grand Basin of the Exposition, twelve feet below. In the basin of the fountain, four pair of sea-horses, mounted by riders who represent modern intelligence, draw the barge. Near the semi-circular balustrade which guards the rear of the fountain, dolphins send streams upward, and mermaids and tritons at various places add to the fleecy display of high-thrown water. The general effect of the MacMonnies fountain was marvelously beautiful, and thousands of visitors gained their chief enjoyment in sitting near by and enjoying the principal scene. It was said to be the largest fountain in the world.
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